The Night of the Unknown Child
by the lurker
Summary: Based on the TV Series: Jim and Arte have to rescue a man's daughter before he turns over his dangerous research. Script format.
1. Act One

THE WILD, WILD WEST  
  
The Night of the Unknown Child  
  
ACT ONE  
  


FADE IN:  
  
EXT. TRAIN TRACK OUTSIDE CHEYENNE - DAY  
  
Establishing shot of the Wanderer on a side track, and we,  


CUT TO:  


INT. PARLOR CAR - DAY  
  
ARETEMUS GORDON is sitting calmly at the table, sipping a cup of coffee, JAMES WEST is on his right. COLONEL RICHMOND is pacing through the car.

  
RICHMOND  
It's another dead end, gentlemen.  
That's what we've got here. A  
big, fat, nothing.  
  
GORDON  
Calm down, Colonel. We're not beat  
yet.  
  
RICHMOND  
Warner's daughter is running out  
of time.  
  
WEST  
We know she's in Cheyenne, Colonel,  
we'll find her.  
  
RICHMOND  
And if you don't, Dr. Warner will turn  
over all his research to her kidnappers.  
(beat)  
We still don't know who's behind this.  
(beat)  
If they get their hands on  
Warner's notes.....  
  
GORDON  
I've looked at his research, Colonel,  
the type of weapon that could be  
created from it is potentially  
devastating.  
  
RICHMOND  
Our government could be brought  
to its knees. I don't need to  
remind the two of you that the  
President is counting on you.  


WEST  
Maybe Warner won't--  
  
GORDON  
--Come on, Jim, they have his daughter.  
What else do you expect the  
man to do?  


ANGLE WEST; he knows, it was a moment of wishful thinking.  


RICHMOND  
All right you two, you'd better get  
moving.  


There is a KNOCK at the door. Richmond walks over and opens it. A TELEGRAM DELIVERY BOY is standing there, holding an envelope.  


DELIVERY BOY  
Telegram here for a Mr. Gordon.  
You him?  


Arte stands and walks to the door. 

  
GORDON  
I'm Artemus Gordon.  


The boy thrusts a clipboard and pen at Arte.  


DELIVERY BOY  
Sign here, please.  


Arte signs, and the kid hands him the envelope. Arte tosses a coin at the boy and closes the door. He opens the envelope, and reads the contents. ANGLE GORDON; his eyes mist over with tears. RESUME. Richmond and Jim exchange a look. Jim stands and walks over to Arte.  


WEST  
Arte? What is it?  


Gordon can't speak. He swallows hard as tears run down his face. Silently he hands the telegram to Jim, and he walks toward the other end of the car. Jim reads it aloud to Richmond.  


WEST (CONT)  
Lily Fortune killed in accident.  
STOP. Instructed to contact you  
regarding daughter Madeline. STOP.  
Will come to you with child. STOP.  
Howard Trasker, Esquire.  


West sets the paper on the desk, and walks to Gordon, who is leaning his hands against the bar. Jim stops right behind his friend and places a gentle hand on his shoulder.  


WEST (CONT)  
(gentle)  
Arte......I'm so sorry.  


With shaking hands, Gordon pours a whiskey, and downs it in one belt. He pours another, and up ends that one as well.  


WEST (CONT)  
Hey, take it easy with that stuff.....  


Standing behind his partner, West removes the glass from his hand and gently turns Arte around to face him. Gordon's eyes are filled with tears.  


WEST (CONT)  
The little girl....could she be  
yours?  
  
GORDON  
(shaky)  
I don't know.  


West takes a hold of Gordon's arms.  


WEST  
(softly)  
Is it possible?  
  
GORDON  
(whispers)  
Yes.  


SMASH CUT TO:  


MAIN TITLES  
  
INT. PARLOR CAR - DAY  
  
Arte is sitting on the couch, drink in hand. He looks stunned. Richmond is pacing by the desk, and West is sitting on the table in front of Gordon.  


GORDON  
Why didn't she tell me?  
  
WEST  
She must have had her reasons,  
Arte.  
  
GORDON  
She should have told me....  


Richmond walks over and stands behind the couch.  


RICHMOND  
Look, I don't mean to be insensitive  
here, but we're running out of time.  


Arte looks like he's going to be sick. Jim pats his knee, stands and pulls Richmond aside.  


WEST  
(sotto)  
Colonel, just give me a little  
time with him, okay?  
  
RICHMOND  
He doesn't look like he's going  
to be able to pull it together, Jim.  
  
WEST  
Arte will be fine. Just give  
me a little time, Colonel.  


Richmond eyes West, shakes his head, and leans in close.  


RICHMOND  
You'd better make sure he is, Jim.  
There's a lot riding on the two of  
you, and the one thing you don't have  
is much time.  
  
WEST  
It'll be fine, Colonel, you have my  
word.  


Richmond holds West's eyes for a moment longer, then walks toward the door, picking up his hat on the way.  


RICHMOND  
See to it, gentlemen.  


Richmond exits. Jim moves behind Arte, placing his hands on his partner's shoulders.  


WEST  
I know you loved her.....  


Gordon simply nods. Jim squeezes the taunt muscles under his hands.  


WEST (CONT)  
Let it go, Arte.  


Artemus is visibly fighting his emotions, and Jim begins gently massaging his neck. Finally, tears silently stream down Arte's face.  


WEST (CONT)  
(soft)  
Let it go, buddy.  


A sob escapes Gordon's lips.  


WEST (CONT)  
That's it. Just let go.  


Arte loses control and sobs openly. Jim walks around the couch and sits in front of Arte on the coffee table. He cups Arte's head, and gently pulls him forward until his forehead leans on Jim's shoulder.  


WEST (CONT)  
It'll be okay. Shhh.......

  
West rubs the back of Arte's head trying to calm him. 

  
WEST (CONT)  
(gently)  
I know you're hurting, buddy, but  
we can't let Warner turn over his  
research.....  


Gordon nods.  


GORDON  
I know.  
  
WEST  
You gonna be okay?  


Arte pulls his head away from Jim.  


GORDON  
Yeah....  


Arte stands up, and wipes the tears from his face.  


GORDON (CONT)  
Jim....  


West stands and puts his arm around Arte.  


WEST  
I'm with you.  


  
On Gordon trying to pull it together, we,  


CUT TO:  


EXT. MAIN STREET, CHEYENNE - DAY  
  
Gordon and West ride into town. CLOSE on MAN behind the general store, observing the two agents; CLOSE on MAN reading a newspaper in front of the saloon, also observing the agents; CLOSE on MAN leaning against the cigar store, same deal. RESUME.  


GORDON  
Where do you want to start?  
  
WEST  
I'll take the saloon, you take  
the General Store.  
  
GORDON  
(bravado)  
Sure, you get the belles of the bar,  
and I get.....housewares.  


West looks at his partner, and appreciates the attempt at humor.  


WEST  
(smiling)  
See you in awhile.  


West heads toward the saloon, and Arte stops in front of the General Store. We FOLLOW GORDON as he dismounts and walks into the establishment.  
  
INT. GENERAL STORE - CONTINUOUS  
  
MERLE, 60's, white-hair, plenty of attitude, stands behind the counter. He eyes Arte suspiciously.  


MERLE  
Ain't never seen you in these parts  
afore.....  
  
GORDON  
Good morning, my good man, I'm here  
on holiday, and wondering if you  
can recommend a good boarding house.  
  
MERLE  
Miss Suzy's, down the road.  
  
GORDON  
Best one is it?  
  
MERLE  
Only one.  
  
GORDON  
Sounds charming.  


Arte tips his hat at the man and heads for the door. He turns before he exits.  


GORDON (CONT)  
By the way, sir, I was wondering  
if you've seen any other folks  
traveling through recently. In  
particular, any pretty young things?  
  
MERLE  
Why do ya wanna know?  
  
GORDON  
I met a lovely young blonde woman  
in Denver and she said she was  
coming to Cheyenne....  
  
MERLE  
And you just thought you'd follow  
her, mister? Must have been some  
kinda gal.....  
  
GORDON  
Yes, that she really was.  
  
MERLE  
Well, I ain't here ta keep track o'  
no strangers, ner find you some kinda  
fancy skirt. Now if you ain't gonna  
buy something' get outta here!  


On Arte's exit, we,

  
CUT TO:  


INT. SALOON - DAY  
  
The room is filled with people drinking, playing poker and carousing. West sips his whiskey from the bar, and surveys the room. His eyes land on ALEXIS, 20's, beautiful, bouncy and the center of attention in the room.  


ALEXIS  
Come on boys, drink up, there's  
plenty more where that came from!  


Many laugh, and several toast her. She stops at one particular table, and fluffs the hair of a COWBOY.

ALEXIS (CONT)  
Bottoms up now, bottoms up!  


He grabs her as she walks by and she laughs, but keeps moving. She spots West and heads toward the bar.  


ALEXIS (CONT)  
Haven't seen you in here before.  
  
WEST  
No, I don't suppose you have.  
  
ALEXIS  
Just passing through?  
  
WEST  
Something like that.  
  
ALEXIS  
What brings someone with your  
polish to this part of the world?  
  
WEST  
(smiles)  
A young lady.  
  
ALEXIS  
Ah....  
  
WEST  
Does that surprise you?  
  
ALEXIS  
Not at all.  
  
WEST  
Maybe you can help me find her.  
Her name is Constance....  


ANGLE ALEXIS; recognition.  


ALEXIS  
Sorry fella, I'm not very good  
with names.  


She starts away, but Jim stops her by gently taking her arm.  


WEST  
She's about five foot two, blonde,  
petite and very pretty. Seen anyone  
like that?  
  
ALEXIS  
No, sorry.  


She tries to break away, but he holds fast.  


ALEXIS (CONT)  
What's the big idea, Mr....?  
  
WEST  
West. James West.  
  
ALEXIS  
Are you going to let go of my arm?  
  
WEST  
Of course.

  
Jim lets go, but she lingers.

  
ALEXIS  
What's so special about this.....  
....Constance girl? Perhaps you  
should let her go and try something  
new. My shift is finished in about  
four hours or so....  
  
WEST  
I'm afraid my heart belongs to  
Constance, Miss....?  
  
ALEXIS  
Alexis.  


Jim kisses her hand, and she smiles. He picks up his hat and starts toward the door. She grabs his arm, stopping him.

  
ALEXIS (CONT)  
If I were you, Mr. West, I'd forget  
about anyone named Constance.  
  
WEST  
Really? Why's that?  
  
ALEXIS  
It could be hazardous to your health.  
  
WEST  
When did you say you were finished?  
  
ALEXIS  
In about four hours.  
  
WEST  
Perhaps I can meet you and walk  
you home.  
  
ALEXIS  
That sounds rather nice, Mr. West.  
  
WEST  
Until then....  


On Alexis as she admires West walking out the door, we,  


CUT TO:  


EXT. SHERIFF's OFFICE - DAY  
  
Arte stops in front of the Sheriff's Office, and we follow him into,  
  
INT. SHERIFF's OFFICE - CONTINUOUS  
  
SHERIFF REX WALTERS, 40's, slick, is sitting at his desk, reading a newspaper. He looks up at Arte.

  
WALTERS  
Can I help ya?  
  
GORDON  
Hi Sheriff, the name's Gordon, Artemus  
Gordon.  
  
WALTERS  
What can I do for ya?  
  
GORDON  
I was hoping you could help me with  
something. You see a dear old  
friend of mine is worried about his  
daughter. He thinks that she might  
have come to Cheyenne.....  
  
WALTERS  
He sent you here to find her?  
  
GORDON  
He wants to make sure his daughter is  
all right.  
  
WALTERS  
This girl have a name?  
  
GORDON  
Constance Warner. She's a little  
petite blonde, stands about up to  
here, sweetest thing you'll ever know.  


ANGLE WALTERS; discomfort. He puts his paper down and stands, dismissing Gordon.  


WALTERS  
I'm afraid I don't know her and haven't  
seen anyone like that in town.  
(beat)  
Now, if you'll excuse me, Mr. Gordon, I  
have a lot of work to do...  
  
GORDON  
Yes, I can see how terribly busy things  
are around here.  
(off a look)  
Thanks for your help...  


Arte is almost out the door when Walters responds.  


WALTERS  
How long are you planning to stay  
in Cheyenne, Mr. Gordon?  
  
GORDON  
Seeing as I just got here, Sheriff,  
I thought I might stay awhile. Is  
that going to be a problem?  
  
WALTERS  
If I were you, I'd be thinkin' about  
movin' on.  
  
GORDON  
I'll try and remember that....  


On Gordon's exit, we,  


CUT TO:  


EXT. SUZY'S BOARDING HOUSE - DAY  
  
Establishing shot of the one boarding house in town, and we,  


CUT TO:  


INT. SUZY'S BOARDING HOUSE - DAY  
  
West walks up to the front desk, and comes face to face with a very large woman, SUZY, 40's, more than enough to handle..... 

  
WEST  
Good afternoon, Miss.....  
  
SUZY  
Mrs. Lightfoot.  
  
WEST  
Mrs. Lightfoot, I need a room please.  
  
SUZY  
Very well Mr....?  
  
WEST  
Mr. West.  
  
SUZY  
And how long are you planning to  
stay with us?  
  
WEST  
Until I find the woman I love.  


ANGLE SUZY; really?

  
SUZY  
This is a quest of yours, searching  
for a woman to love?  
  
WEST  
I already found her.  
  
SUZY  
I'm confused, Mr. West. You found  
her but you're looking?  
  
WEST  
I sort of lost her.  
  
SUZY  
You lost her.  


WEST  
Yes, well, we had a little.....  
spat. And she left me. I thought  
she might have come here.  
  
SUZY  
Well, if she's a visitor, she would  
have come through here. Everyone does  
you know. Does this little girl have  
a name?  
  
WEST  
Constance Warner.  


ANGLE SUZY; red flag.

  
SUZY  
There hasn't been anyone with that name.  
(beat)  
How long did you say you were staying?  
  
WEST  
A few days at least, I'm sure.  


Lightfoot looks at her hotel register.  


SUZY  
Well Mr. West, I'm afraid that  
won't be possible.  
  
WEST  
Really? And why's that?  
  
SUZY  
We've only got one room open  
tonight, and then we're booked  
solid for the next two months.  
  
WEST  
Can you recommend another place?  
  
SUZY  
I'm afraid this is the only boarding  
house in town, and we haven't got  
a hotel.  
  
WEST  
I guess I'll take a room for the night  
then.  
  
SUZY  
Very well. Sign here. And you'll have  
to pay up front for the room. Eight  
dollars.  


Jim signs the book and pays the woman. She hands him a key, and as he tries to take it, she holds on to it.  


SUZY (CONT)  
I'd find a new woman to love, Mr. West,  
it doesn't sound like this one is going  
to work out.  
  
WEST  
Advice from experience, Mrs. Lightfoot?  


She lets go of the key.  


SUZY  
Well I never!  
  
WEST  
(sotto)  
I'm sure you haven't.....  


On West heading up the stairs, we,  


CUT TO:  


EXT. ALLEY BEHIND BOARDING HOUSE - AFTERNOON  
  
Arte is leaning against a building, waiting. He seems antsy. West enters the alley and heads toward his partner.

  
GORDON  
Nice of you to make it, James.  
  
WEST  
Signing in at the boarding house  
took longer than I thought.  
  
GORDON  
Any luck?  
  
WEST  
Two things I noticed..... any  
mention of Constance Wagner's  
name makes people become downright  
jumpy, and yet, no one seems to have  
ever heard of her. I do have one  
lead with the girl at the saloon.  
I'm meeting her in a few hours, we'll  
see if anything comes of it. You?  
  
GORDON  
Same story....no one has seen her, but  
her name shuts people up tighter than a  
clam in August.  
  
WEST  
She must be somewhere nearby, and  
everyone in town knows it.  
  
GORDON  
Question is.....why are they staying  
quiet? The whole town can't be in

on this.  
  
WEST  
That's a question, isn't it, Arte.  
(beat)  
Are you heading back to the train?  
  
GORDON  
Yeah.  


Arte looks down at his feet, it's not lost on Jim.  


WEST  
You okay?  
  
GORDON  
Of course, James. No worries.  
  
WEST  
I can always meet up with Alexis  
later....  
  
GORDON  
No. I'm sure everything will be fine.  


Jim frowns. His friend is trying hard to convince himself. He takes a long look at Arte, then;  


WEST  
You're sure that this child could  
really be yours?  


ANGLE GORDON; fiery anger.

  
GORDON  
Of course I'm sure. That's not  
something one could mistake.  


Jim places a hand on Arte's arm.  


WEST  
Take it easy, I didn't mean it  
that way.  
(gentle)  
I just......are you sure you're  
the only possibility?  


Arte jerks away, even angrier.  


GORDON  
Yes, I'm sure. And I resent the  
implication.  
  
WEST  
Relax Arte, I'm not asking the  
question to hurt you. I just don't  
want you taking on something that--  
  
GORDON  
--Lily's dead. Isn't that enough?  
  
WEST  
(soothing)  
Hey, Arte, I'm just trying to  
look out for you, that's all.  
  
GORDON  
Well don't.  
(beat)  
I'll catch up with you later.  


Before Jim could say anything more, Arte was out of sight. On West, worried, we,  


FADE OUT:  


END ACT ONE  
  



	2. Act Two

ACT TWO  
  


FADE IN:  
  
INT. PARLOR CAR - DUSK  
  
Arte is pacing, as nervous as a bridegroom. We hear a KNOCK on the door. He opens it to REVEAL HAROLD TRASKER, 50's, tiny man, tight little mustache, and MADELINE FORTUNE, five years old, dark wavy hair with big brown eyes. ANGLE ARTE; he takes a look at the little girl, a lump of emotion forms in his throat.  


GORDON  
(clears throat)  
Mr. Trasker, I presume? And you must  
be Madeline....  


The little girl hides behind Trasker.  


GORDON (CONT)  
Won't you please come in?  


Arte ushers the two of them inside. He shakes hands with Trasker.  


TRASKER  
Mr. Gordon, I'll come right to  
the point.  


Arte swallows hard.  


GORDON  
Very well.  
  
TRASKER  
Miss Fortune left behind a Last Will  
of Testament; I am the executor of  
that document. She left all of her  
accumulated possessions to her mother,  
transferable to Madeline at the time  
of her mother's passing; the little  
girl however, she specifically asked  
that custody go to Madeline's father.  
(beat)  
She named you.  


ANGLE ARTE; he's stunned. He slowly turns and paces further into the car.  


GORDON  
I just can't believe Lily didn't  
tell me....  
  
TRASKER  
It's not the kind of thing a  
decent lady would discuss; but  
then, I suppose decency has  
little to do with having a child  
out of wedlock--  


Arte's fist lands in the man's face, sending him flying into the wall. The little girl scuttles under the desk, whimpering. Arte closes his eyes; he knows he needs to get control of his emotions. He lets out a long sigh of air and walks over to the desk. He bends down and looks at the girl, who is staring at him with large brown eyes. He holds his hand out to her.  


GORDON  
I'm sorry, Madeline, I didn't mean  
to frighten you. My name's Arte,  
and I was a......friend of your  
mother's. She wanted you to come  
and stay with me for awhile. Why  
don't you come out and I'll get  
you a nice cup of cocoa?  


On the little girl obstinately shaking her head, we,

  
CUT TO:  


INT. SALOON - NIGHT  
  
Jim smiles and holds his hand out for Alexis, who grasps it tightly. We FOLLOW them as they exit into,  
  
EXT. MAIN STREET CHEYENNE - CONTINUOUS  
  
They begin walking down the boardwalk.  


ALEXIS  
It's a beautiful night...  
  
WEST  
Yes, it is.  
  
ALEXIS  
I love a full moon. It's so  
very romantic.  


Alexis scoots into an alleyway and pulls Jim into her. She kisses him deeply. After a moment or two, Jim breaks it up.  


WEST  
What did you want to tell me, Alexis.  


She kisses him again.  


WEST (CONT)  
(persistent)  
Tell me about Constance.....  
  
ALEXIS  
Forget about her, Mr. West, and go  
while you can.  
  
WEST  
You know where she is, don't you?  
  
ALEXIS  
No. Just go, before they kill you.  
  
WEST  
Before who kills me?  
  
DAN (O.C.)  
Me, Mr. West.  


Jim spins around and we REVEAL DAN, 30's, thug. Dan is pointing a gun at West.  


DAN (CONT)  
Move away from him, Alexis.  
  
ALEXIS  
What are you doing here?  
  
DAN  
I knew we couldn't trust you with him.  


Jim pushes the girl out of the way, and faces Dan.  


WEST  
Where is Constance Warner?  
  
DAN  
You're in no position to ask  
any questions, Mr. West. You've  
asked too many already.  


Dan points his gun at Jim and cocks it. West lets a beat go by, then he grabs the gun by the barrel and pulls it along with Dan, into his fist. The gun discharges into the air. Jim throws the gun aside, and lands two more solid punches at the man. Dan recovers and pulls a punch on West, splitting his lip. Jim runs at Dan and hits him low, around the legs, toppling them both. A left, a right, and Dan is out. Jim looks up in time to see Alexis running for it. West follows her, keeping a discreet distance. She scoots through town, winding her way through people and buildings. Jim stays with her. She turns down another alleyway, Jim follows a few ticks later, and turns the corner. WEST's POV: an empty alleyway. Alexis is nowhere to be seen. On Jim, we,  


CUT TO:  


INT. MAIN CAR OF TRAIN - NIGHT  
  
Arte hands Trasker another ice pack for his eye.  


TRASKER  
You had no call to hit me.  
  
GORDON  
I beg to differ, sir.  
  
TRASKER  
I merely stated a fact.  
  
GORDON  
And unless you'd like a matching  
black eye on the other side of  
your face, I suggest you drop it.  


Trasker looks around the car.  


TRASKER  
Where is the girl?  


ANGLE ARTE; embarrassment.  


GORDON  
(mutters)  
Under the desk.  
  
TRASKER  
I beg your pardon?  
  
GORDON  
(annoyed)  
Under the desk.  
  
TRASKER  
Mr. Gordon, Madeline is a child,  
not a dog. Whatever did you put  
her there for?  
  
GORDON  
I did not put her there. She  
won't come out.  


The door to the car opens, and Jim enters. He looks at Trasker, the ice pack and at his partner, a question in his eyes. Arte looks at Jim, and we see the discomfort.  


WEST  
Arte?  
  
GORDON  
James West, meet Harold Trasker.  


Trasker stands. He and West shake hands. Gordon heads toward the galley door.  


GORDON (CONT)  
If you'll both excuse me for a moment.  


Jim frowns in Arte's direction, but says nothing. Gordon exits.  


WEST  
What happened to your eye, Mr. Trasker?  
  
TRASKER  
I'm afraid Mr. Gordon is somewhat  
hot-tempered.  
  
WEST  
Doesn't sound like him...  
  
TRASKER  
He overreacted to something I said.  
  
WEST  
He's been under a bit of a strain  
lately.  
  
TRASKER  
Yes, well, I must be on my way.  


Trasker heads toward the door.  


TRASKER (CONT)  
You will bid Mr. Gordon adieu for me?  
  
WEST  
Of course......  
(beat)  
Mr. Trasker?  
  
TRASKER  
Yes?  
  
WEST  
I thought you were bringing Miss  
Fortune's daughter with you.  
  
TRASKER  
I did.  
  
WEST  
Well, where is she?  
  
TRASKER  
Apparently, under the desk.  
  
WEST  
Under the--  


Trasker SLAMS the door and is gone. Jim walks over to the desk, and looks under it. Jim's POV; two large brown eyes stare out at him. Arte enters.  


WEST (CONT)  
Arte, why is there a child hiding  
under the desk?  
  
GORDON  
She doesn't seem to like me much.  


Jim kneels down and holds out his hand out to Madeline. A small hand grabs his, and he pulls out the girl.  


WEST  
You just don't have the right touch,  
Arte.  


West looks at the child.  


WEST (CONT)  
You must be Madeline, my name's Jim.  
  
MADELINE  
Are you my daddy?  
  
WEST  
No.......my friend Arte is your father.  


Madeline grabs a hold of Jim's neck in fear. Jim pulls her close, comforting her.  


WEST (CONT)  
(to Arte)  
What happened?  
  
GORDON  
Trasker talks too much....  
  
MADELINE  
The scary man hit him!  


The child tightens her hold on Jim's neck. Jim and Arte hold a long look, then;  


WEST  
That's not like you, Arte.  
  
GORDON  
(avoiding)  
It's late, let's put her to bed.  


On Jim still holding the child, we,  


DISSOLVE TO:  


INT. ARTE'S SLEEPING CABIN - LATER  
  
Madeline is sound asleep in Gordon's bed, snuggled under the covers. Jim is standing over her, Arte enters.  


GORDON  
Everything okay?  
  
WEST  
Yes, she was asleep as soon as her  
head hit the pillow.  
(beat, careful)  
You should have joined us.  
  
GORDON  
She doesn't seem to like me much.  
  
WEST  
She's just lost her mother, Arte,  
she's scared. She'll adjust to you.  
  
GORDON  
She didn't have any trouble with  
you.... Let's face it, Jim, I'm  
not very good with kids.  
  
WEST  
Come on Arte, look at her, she's  
as easy as pie.  


ANGLE GORDON; he looks at Madeline, and a small smile curls his lips. RESUME.  


GORDON  
She looks like Lily.  


Jim lays a hand softly on Arte's shoulder.  


WEST  
But she has her father's big brown  
eyes.  


Arte looks sharply at his best friend. The soft brown eyes mist over momentarily, his voice is a whisper.  


GORDON  
I can't believe Lily's gone, Jim.  


West squeezes Arte's shoulder.  


WEST  
Come on, I think we could both  
use a drink.....  


On their exit, we,  


CUT TO:  


INT. MAIN CAR - NIGHT  
  
Jim and Arte sit at the table, drinks in hand. Arte looks tense, and Jim's concern for Arte shows on his face.  


GORDON  
I thought you were staying in town  
tonight.  
  
WEST  
Changed my mind.  
(off a look)  
Why did you flatten Trasker? It's  
not like you.  


Gordon looks into his glass. The confession is difficult for him.  


GORDON  
He implied that Lily was...less than  
a lady.  
  
WEST  
I'm sorry I wasn't here.  
  
GORDON  
What happened with Alexis?  
  
WEST  
She set me up, but tried to convince  
me to drop it and get outta town.  
  
GORDON  
Did she give you any indication of  
who's behind it?  
  
WEST  
Nope.  
  
GORDON  
We've only got 48 hours left, Jim.

  
Jim looks into his drink, takes a long sip from it, then back at Arte.  


WEST  
Artemus.....have you given any  
thought to what you're going to  
do with Madeline?  
  
GORDON  
Do? What do you mean?  
  
WEST  
Well, Arte, she's a child.  
  
GORDON  
No kidding...and here I thought  
she was just a midget lost from  
the circus....  
  
WEST  
We're government agents. This is  
no environment for a little girl.  


ANGLE ARTE; disbelief, betrayal.  


GORDON  
What are you suggesting? That I  
give her away to the nearest  
orphanage?  


Jim places a gentle hand on Arte's forearm.  


WEST  
Of course not. But Arte.....  


Gordon stands up and begins pacing. He runs a hand through his hair.  


GORDON  
I know. But what can I do? She's  
my daughter, Jim. Mine and Lily's.  


West goes to his friend and stands close.  


WEST  
We don't know that for sure--  


Arte turns on Jim.  


GORDON  
Yes, we do. Lily wouldn't lie  
about a thing like this.  
  
WEST  
And yet she didn't tell you that  
the girl even existed.  


ANGLE ARTE; anger is working on his face.  


WEST (CONT)  
Arte, think, we have only Trasker's  
word that Madeline is yours.  
  
GORDON  
Are you implying that Lily--  


Arte is so angry, he can't finish the sentence. He grabs West by the lapel in a threatening manner. Jim puts his hands over Arte's gently.  


WEST  
You know me better than that.  


Arte's hands fall from Jim's lapels, and West puts his hands on his partner's shoulders.  


WEST (CONT)  
I think you need to get some rest,  
buddy. Why don't you take my bunk  
for the night, I'll stay out here...  
  
GORDON  
No. She's my kid, I'll stay out here.  


ANGLE JIM; he's concerned about his partner. RESUME. West nods and heads for the door. On Arte, we,  


CUT TO:  


INT. MAIN CAR - MORNING  
  
Jim and Madeline enter with coffee and food. Arte is asleep on the divan, and looks scrunched and uncomfortable.  


WEST  
Madeline, would you set the table?  
  
MADELINE  
Okay.  


Jim sets the coffee on the table and Madeline begins spreading out the food. West walks to the divan and sits on the coffee table. He gently shakes Arte's shoulder.  


WEST  
Arte? Wake up, pal.  


After a moment, Gordon stirs, winces from stiffness and sits up.  


GORDON  
What time is it?  
  
WEST  
After ten.  
  
GORDON  
Madeline...  
  
WEST  
Relax. She's right over there,  
setting the table for breakfast.  
(beat)  
How about some coffee?  


Arte nods. Jim walks to the table, pours a cup and hands it to his partner. Gordon sips it and watches Madeline. Jim sits next to him.  


WEST (CONT)  
She's a pretty little girl.  
  
GORDON  
Yes, she is.  


ANGLE WEST; Arte can't take his eyes of the child.  


WEST  
Arte..... Arte.  
  
GORDON  
Hmmm? What?  
  
WEST  
Constance Warner.  
  
GORDON  
(distracted)  
Yeah...what about her?  
  
WEST  
I'm going to head into town and  
see if I can find Alexis. She's  
our best lead at the moment.  
  
GORDON  
I'll go with you.  
  
WEST  
(rebuffs)  
Artemus...you can't leave Madeline  
here alone.  


ANGLE ARTE; he's not playing with a full deck.  


GORDON  
You're right.  


Jim pats his friend's shoulder.  


WEST  
Arte, you've got to get a hold of  
yourself.  


Arte nods, and once again stares at the child. His child.  


GORDON  
I'll get someone here to watch her,  
and I'll meet you in town later.  
  
WEST  
Okay.  
(to Madeline)  
Madeline, I'll see you later.  


The child runs to him.  


MADELINE  
(whispers)  
Please don't leave me here.  


Jim kneels down.  


WEST  
Arte's here, you'll be fine.  
  
MADELINE  
No! I don't want him, I want you.  


JIM'S POV; the remark hit home, Arte is hurt.  


WEST  
Madeline, give him a chance.  
  
MADELINE  
He's scary.  
  
WEST  
(grins)  
Well, he does have a scary mug, I  
agree, but he's really pretty sweet  
when you get to know him.  
  
MADELINE  
(teary)  
I miss my mommy.  
  
WEST  
So does he.  


Madeline looks over at Gordon, thinking. West kisses her head, pats Gordon's shoulder and exits. Madeline and Gordon stare at each other. Big elephant in the room. On the awkward air, we,  


CUT TO:  


INT. SALOON - DAY  
  
It's a fairly lively scene for the middle of the day. Jim enters and walks to the bar.  


WEST  
Whiskey please.  


He tosses a coin on the bar, and sips the whiskey that is put in front of him. He surveys the room, looking for Alexis. There is no sign of her; however, he does spot Dan, who has his arm around a SALOON GIRL. Dan kisses the girl, and they walk up the stairs, heading for a room. We FOLLOW WEST and the couple up the stairs and into,  
  
INT. HALLWAY - CONTINUOUS  
  
Jim ducks into an alcove and watches as Dan and the girl disappear into a room. He moves down the hall, and stands in front of the door. West pulls the lock pick from his lapel, and makes quick work of the lock in the door. He replaces the lock pick and quietly opens the door. We FOLLOW JIM as he enters,  
  
INT. BEDROOM - CONTINUOUS  
  
WEST's POV; Dan and the girl on the bed about to do the deed. Jim moves quickly, pulling his sidearm as he gets to Dan. The girl SCREAMS, and West puts the gun to Dan's head.  


WEST  
Don't move.  
(to Girl)  
I'm not going to hurt you, but your  
friend here owes me money.  


West tosses the girl's top to her so she can cover herself.

WEST (CONT)  
Put it on and get out of here.  


Without missing a beat, the girl runs from the room. Jim pulls Dan up by the hair.  


WEST (CONT)  
And you're going to take me to  
Constance Warner.  
  
DAN  
And if I don't?  


Jim yanks back hard on the man's head; Dan WINCES.  


WEST  
It's going to become very  
uncomfortable for you.  


West tosses Dan into the chair.  


WEST (CONT)  
Now put your clothes on, and let's  
go.  


On West holding his gun, we,  


CUT TO:  


EXT. ALLEYWAY - DAY  
  
Dan leads West into the alley where Alexis disappeared. He walks to an old, tattered wooden crate. He moves the crate aside, revealing a ladder down into the ground.  


WEST  
How convenient.  


Dan starts down and West grabs him.  


WEST (CONT)  
Not so fast. I don't think you're  
coming along....  


Jim punches Dan, knocking him out, then precedes down the ladder. We FOLLOW WEST into,  
  
INT. UNDERGROUND TUNNEL - CONTINUOUS  
  
West pulls a match from his pocket, lights it and sees a torch leaning against the wall. He lights the torch and walks quickly through the labyrinth. Ahead he sees another ladder. We FOLLOW WEST up the ladder and into,  
  
INT. RANCH HOUSE LIBRARY - CONTINUOUS  
  
Jim enters the library, closes the hatch in the floor leading to the tunnels and WE FOLLOW WEST into,  
  
INT. ENTRY HALL - CONTINUOUS  
  
Jim looks around the hall, and it's empty. He heads for the stairs, and as he reaches the top, he comes face to face with FIVE MEN. He throws the first punch and it's a free for all. He grabs one guy and tosses him over the railing, and another he shoves down the stairs. The third man lunges at West, and the two of them tumble down to the bottom, landing in a heap. Jim pulls the man up, and slugs him hard in the face, and then a right cross, the man goes down. The last man leaps on him and Jim is shaken. The man pulls West up and throws him into the wall, landing a solid punch in his stomach. Jim comes back with a kick in the stomach, and a hit to his face.  


ARDEN (O.C.)  
That will be far enough, Mr. West.  


WEST's POV; KELLER ARDEN, 40's, tall, good-looking, fancy suit, holds a gun pointed at Jim.  


ARDEN (CONT)  
You should have taken Alexis's  
advice and left while you could.  


Arden fires the gun in three quick successions, right at West. CLOSE on Arden's face as he starts to laugh. RESUME. West reaches for his chest, and falls to the floor. CLOSE on the unconscious body of James West, and we,  


FADE OUT:  


END ACT TWO  



	3. Act Three

ACT THREE  


FADE IN:  
  
CLOSE on West's unconscious body. WIDEN to REVEAL:  
  
INT. ARDEN'S RANCH HOUSE - DAY  


ARDEN  
Bring him upstairs.  


Two men pickup West and start up the stairs, followed by Arden.  


DISSOLVE TO:  


INT. BEDROOM - ARDEN'S HOUSE - DAY  
  
Alexis sits in a chair by the window. The door opens, and the two men carrying West enter, followed by Arden. She turns and gasps.  


ALEXIS  
Is he dead?  
  
ARDEN  
No my dear, Mr. West is not dead.  
He is merely......resting.  


The men lie West on the bed, and Alexis sits down next to him.  


ALEXIS  
What did you do to him?  
  
ARDEN  
Tranquilizers. He'll be asleep  
for at least four hours, Alexis.  
That should be enough time for  
you to admire his chiseled face.  


Arden laughs and exits, closing the door behind him. On Alexis, staring at Jim's face, we,  


CUT TO:  


INT. PARLOR CAR - DAY  
  
The car is a wreck. Cushions everywhere, papers strewn about, general disorder, as if a cyclone had blown through. Madeline sits on the desk chair, her legs swinging underneath it. Her arms are crossed in front of her, and her cheeks are puffed full in a pout. A disheveled Arte paces in the middle of the car, clearly steamed. There is the air of a battleground, and Arte is losing. We get the feeling that it's been a busy and somewhat unbearable morning for Gordon.  


GORDON  
This train is not a playground, young  
lady. As a matter of fact, there are  
a lot of dangerous things in here;  
items that are not toys.  


He picks up the horse statue on the table, and shakes it at the girl.  


GORDON (CONT)  
You could hurt yourself with this  
thing--  
  
MADELINE  
--It's just an old horse....  


Arte opens up the belly of the statue, revealing a mini-bomb.  


GORDON  
Yes, a horse that has an explosive  
charge in it. You could have been  
hurt, Madeline. I told you not to  
play with things in here.  
  
MADELINE  
This is just a dumb old train, and  
I don't want to be here!  


The girl returns to her silent pouting, and Arte's pacing revs up faster.  


GORDON (CONT)  
(thinking aloud)  
Jim was right. This is no place for  
a child. I don't know what Lil could  
have been thinking. This just isn't  
going to work. The safest thing would  
be to send you to your grandmother....  


  
The girl stands up defiantly, her arms still crossed.  


MADELINE  
You're sending me away?  


He stops pacing and looks at her in confusion.  


GORDON  
You just said you didn't want to be  
here....and now you're complaining  
about going to live with your  
grandmother?  


Arte is completely out of his element, and he knows it. He paces again, running his hand through his hair. Madeline begins to sniffle and cry. Arte heaves a long sigh, stops moving and stares at the child. He doesn't know what to do.  


GORDON (CONT)  
Hold on now.....why are you crying?  


The child cries harder. ANGLE GORDON; he feels terrible, but doesn't really know what to do. RESUME.  


GORDON (CONT)  
(softer)  
Come on now, honey, don't cry......  


Madeline's cries turn into a wail. Arte walks over to her.  


GORDON (CONT)  
It's all right sweetheart, don't  
cry.  
  
MADELINE  
(sobbing)  
You...don't......like...me...  


Arte awkwardly takes the girl into his arms.  


GORDON  
That's not true.  


Madeline wails again, and Arte pulls her closely to him.  


GORDON (CONT)  
Shhh....there, there darling, it's  
all right.  
  
MADELINE  
I don't...want...to... be sent away...  


He tries to soothe her, but she isn't having it.  


GORDON  
I won't send you away, Madeline.  
I didn't mean it, honey.  


The caterwauling ceases immediately, the child pushes away from him, smiling. ANGLE ARTE; he's been had by a five year old. He has a lot to learn about kids. RESUME.  


GORDON (CONT)  
Why you little sneak.....  
  
MADELINE  
Worked didn't it?  


He watches as Madeline walks triumphantly out of the room toward the stable car. He scratches the back of his head.  


GORDON  
The psychology of little girls...  
this explains a lot about the grown  
up versions.  


On Arte, we,  


CUT TO:  


INT. ARDEN'S RANCH HOUSE - DAY  
  
Alexis smoothes a cool cloth over Jim's face, and he stirs.  


ALEXIS  
Are you all right, Mr. West?  
  
WEST  
(groggy)  
Yes.....fine...  


Jim starts to sit up, and Alexis holds him down.  


ALEXIS  
I wouldn't... the effects will  
last a little while. You'll be  
dizzy. Just lie back and let  
me take care of you.  
  
WEST  
Under other circumstances, I'd  
be happy to oblige; however, I  
have to find Constance Warner.  


Jim pushes himself up, and reaches for his head.  


ALEXIS  
I hate to say I told you so....  
  
WEST  
Who's house is this, Alexis?  


Alexis looks away, and starts to get up from the bed, but Jim takes a hold of her arms.  


WEST (CONT)  
Alexis.....I asked you a question.  
  
ALEXIS  
I value my life, Mr. West.  
  
WEST  
Then I guess I'll have to find out  
the hard way.  


West stands up and sways slightly. He shakes his head and moves over to the window. He opens it, and looks for a way down. WEST's POV; a trellis leading down the side of the house. RESUME. Jim reaches for his head. Alexis comes to his side, and pulls him back to the bed.  


ALEXIS  
You'd better lie down for awhile  
longer, or you'll hurt yourself.  
  
WEST  
Then help me. Tell me whose house  
this is...  
  
ALEXIS  
Keller Arden.  
  
WEST  
I've never heard of him.  
  
ALEXIS  
He made his money in cattle.  
  
WEST  
And now?  
  
ALEXIS  
He has an interest in....politics.  
  
WEST  
In overthrowing the government  
perhaps....  
(off a look)  
Alexis, what's a girl like you  
doing with Keller Arden?  
  
ALEXIS  
I don't want to be a saloon girl  
all my life, Mr. West....  
  
WEST  
And, you like nice things?  
  
ALEXIS  
When I first took up with him, I  
didn't know anything about him.  
  
WEST  
And now that you do?  


Alexis leans over him and kisses him deeply. On this, we,  


CUT TO:  


INT. PARLOR CAR - NIGHT  
  
Arte and Madeline sit at the table. Candles are lit, the finery is out, but the tension is the thickest thing at the table.  


MADELINE  
I don't like this food.  
  
GORDON  
How do you know whether you like  
or dislike something if you haven't  
tried it?  


She crosses her arms and sticks up her nose.  


MADELINE  
It smells funny.  
  
GORDON  
(incensed)  
Beef Stroganoff, young lady, does  
not smell funny'.... I'll have  
you know you won't find a better  
dish this side of the Mississippi.  
  
MADELINE  
It smells funny, and I'm not  
eating it!  


Arte has certainly met his match on the stubborn front, and he knows it.  


GORDON  
I'm telling you to try it.  
  
MADELINE  
No.  


They each lean closer to the other.  


GORDON  
Try it, you might actually like  
it.  
  
MADELINE  
No.  


They are almost nose to nose.  


GORDON  
Has anyone ever told you that  
you are the most stubborn of  
little girls?  
  
MADELINE  
Mommy always said I inherited it  
from Daddy.  


ANGLE GORDON; figures. RESUME. Their noses are almost touching now.  


GORDON  
(gritted teeth)  
Try the stroganoff....  
  
MADELINE  
No.  


She out-stares him, he breaks away.  


GORDON  
(sotto)  
Oh, you're my kid all right....  


On Arte, we,

  
CUT TO:  


INT. ARDEN'S BEDROOM - NIGHT  
  
Jim wakes up, alone. He sits up, and goes to the door; it's locked. He could force it, but that would be extremely noisy. He goes instead to the window, and we FOLLOW WEST onto,  
  
EXT. TRELLIS - CONTINUOUS  
  
West quickly scales down the trellis, and makes his way around the house until he comes to,  
  
EXT. CELLAR DOOR - CONTINUOUS  
  
Jim forces the door, and we FOLLOW him into,  
  
INT. ARDEN'S CELLAR - CONTINUOUS  
  
West moves quietly through the cellar. He looks behind wine casks, crates, and other supplies for any sign of Warner's daughter. He works his way through, finding nothing. At the end of the room, he sees a spiral staircase. West goes down the stairs and into,  
  
INT. SUBBASEMENT - CONTINUOUS  
  
The room is large, dark and cold. The hairs on the back of Jim's neck are tweaked, and he knows there's something here. On a hunch, he looks up, and we follow WEST's POV; CONSTANCE WARNER, 20ish, pretty, sits in a chair, on a platform with a trap door. There is a noose around her neck, she is bound and gagged. One entrance to the platform exists; a small staircase. Jim inspects the staircase and realizes it's rigged for weight. If he mounts a step, the trap door will open, and Constance Warner will hang. West looks up and sees the beams across the ceiling of the room. He extends his right forearm, and his derringer slides into his hand. He pulls an arrow with a rope from his inside pocket and sets it in the weapon. Taking aim on a beam, Jim fires and the arrow embeds itself into the wood. West puts the derringer away, and begins to climb up the rope. Once at the beam, Jim wraps his legs around it, so that he is hanging upside down. He tries to reach the rope of the noose, but can't quite make it. He pulls himself up and balances on top of the beam. West reels in the rope he used to climb up, and extracts a retractable anchor from his pocket. He attaches the metal anchor to the rope and swings it so that it connects with another beam in the ceiling. Jim takes the knife from the lining of his jacket, and swings himself on the rope, across the top of the platform, slicing the noose with the knife on his way by. Jim puts the knife away, and removes the anchor from his beam. He swings it back at the other one, swoops down and picks up Constance on his way, the two of them land with a thud into the far wall. Jim drops to the ground, and catches Constance. He removes the ropes on her hands, and the gag from her mouth.  


CONSTANCE  
Who are you?  
  
WEST  
James West, I'm with the Secret  
Service.  
  
CONSTANCE  
Is my father all right?  
  
WEST  
Worried about you, but I'm sure  
he'll be fine once I get you back  
to him. Let's get out of here....  


Jim leads her to the spiral staircase and the two of them climb up it and into,  
  
CLOSE on the barrel of a gun. WIDEN TO REVEAL;  
  
INT. ARDEN'S CELLAR - CONTINUOUS  
  
Dan is holding a gun on West and Constance.  


DAN  
Don't give me a reason, because I'd  
love nothing more than to kill you,  
West.  
(off a look)  
Now move.  


Dan leads West and Constance through another door, and we FOLLOW them into,  
  
INT. ARDEN'S LIBRARY - CONTINUOUS  
  
Keller Arden smokes a cigar in a large leather chair. He stands when West and Constance enter.  


ARDEN  
Mr. West....Miss Warner, do come in.  
May I offer you a brandy?  
  
WEST  
Thank you.  


West guides Constance to a couch and the two of them sit. Arden pours a brandy for West and hands it to him.  


ARDEN  
Very impressive, Mr. West.  
  
WEST  
What is?  
  
ARDEN  
You, of course. Your rescuing of the  
damsel in distress. I had of course  
heard that you were quite good, and  
you have lived up to your reputation.  
  
WEST  
That doesn't explain why I'm still  
alive.  
  
ARDEN  
Doesn't it?  
  
WEST  
No.  
  
ARDEN  
I could use someone like you, West.  


Jim smiles.  


WEST  
I've already got a job, thank you.  
  
ARDEN  
I could offer you so much more  
than the Secret Service.  
  
WEST  
I appreciate the offer, but I'm  
afraid I must decline.  
  
ARDEN  
(shrugs)  
Have it your way.  
(to Dan)  
Lock him up downstairs.  
  
DAN  
Why don't we just kill him?  
  
ARDEN  
Because his demise will be that  
much more painful when this house  
burns to the ground.  
(beat)  
Now get going....  


Dan moves toward Jim, who springs into action. He throws Dan into a wall, and grabs the next man, but is halted quickly by Arden  


ARDEN (CONT)  
Stop Mr. West, or Constance will cease  
to exist.  


Jim freezes when he sees the gun Arden is pointing at Constance Warner's head.  


ARDEN (CONT)  
Now get him out of my sight.  


On Jim exiting with the men, we,  


CUT TO:  


INT. GORDON'S SLEEPING CAR - NIGHT  
  
Madeline climbs into bed, and Arte stands uncomfortably nearby. They hold a look. She's obviously waiting for something.  


GORDON  
What?  
  
MADELINE  
Mommy always tucks me in and tells me  
a story. Uncle Jim read me a story  
last night.  
  
GORDON  
Hmmmm......  
  
MADELINE  
I want Uncle Jim.  


ANGLE ARTE; she knows the right buttons to push.  


GORDON  
(soft)  
Won't I do?  


The child glares at him.  


GORDON (CONT)  
Come on, get under the covers.  


Begrudgingly Madeline complies, and Arte tucks her in.  


MADELINE  
What should I call you?  
  
GORDON  
Uh....whatever you'd like, I guess.  
Uncle Arte?  
  
MADELINE  
Are you really my daddy?  
  
GORDON  
(soft)  
Yes.  
  
MADELINE  
Why weren't you with me and mommy?  
  
GORDON  
That's a very complicated question,  
Madeline.  


  
She thinks for a moment, then;  


MADELINE  
A story, read me a story!  


Slowly Arte sits on the edge of the bed, adjusting the covers.  


GORDON  
How about if I tell you one?  


Madeline eyes him suspiciously.  


MADELINE  
Are you any good?  


ANGLE ARTE; this kid is unbelievable.  


GORDON  
I'll have you know, Miss Madeline,  
that long before your mother  
discovered the stage, I was acting  
in some of the best productions north  
of the Rio Grande.  
(off a look)  
Once upon a time, there were three  
bears--  
  
MADELINE  
--I've heard that one...  
  
GORDON  
Fine, I've got one I know you've  
never heard..... Once upon a time,  
there was an old cat living up a  
tree--  
  
MADELINE  
--Cats don't live up trees.  
  
GORDON  
Are you writing this, or listening?  
(off a look)  
This old cat had magical whiskers,  
and when he would wiggle them in a  
certain way, he could make anything  
happen....  


On Madeline's rapt face, we,  


DISSOLVE TO:  


INT. GORDON'S SLEEPING CAR - LATER  
  
Arte watches Madeline peacefully sleeping, a small smile lighting his face. He leans over, kisses her sweetly on the cheek, stands and exits. We FOLLOW GORDON through the passageway and into,  
  
INT. PARLOR CAR - CONTINUOUS  
  
Arte pours himself a cup of coffee and looks at his pocket watch. It's getting late, and there's no sign of Jim. Worry creases his forehead. The door to the car opens, much to his relief.  


GORDON  
Jim, it's about time, I was getting--  


GORDON's POV; Richmond enters.  


GORDON (CONT)  
Oh, hello Colonel.  


Richmond walks in, closing the door behind him.  


RICHMOND  
Artemus..... What's the word?  


Arte looks away, guilt flooding him.  


GORDON  
I'm afraid, Colonel, that there  
isn't much to report at the moment.  
  
RICHMOND  
What do you mean?  
  
GORDON  
Jim went to check out a lead, and  
I haven't heard from him since.  
  
RICHMOND  
Well why the hell haven't you gone  
looking for him?  
  
GORDON  
I, uhm, haven't found anyone to  
look after Madeline.  
  
RICHMOND  
Oh for pete's sake, Gordon. This  
is the Secret Service, not a child  
service.  
(off a look)  
How long has Jim been gone?  
  
GORDON  
Since this afternoon.  
  
RICHMOND  
Well what are you going to do about  
it?  
  
GORDON  
I don't suppose you'd be interested  
in a little baby-sitting tonight,  
eh Colonel?  
(off a look)  
I didn't think so....  


On Arte, we,  


CUT TO:  


EXT. ARDEN'S RANCH HOUSE - NIGHT  
  
Men pack wagons with supplies from the house. And we,  


CUT TO:  


INT. ARDEN'S RANCH HOUSE - NIGHT  
  
Arden smokes a cigar and watches as Dan douses the joint with lantern oil. Others stand nearby, including Alexis and Constance. A man has Constance in his grip. Dan finishes his chore, and Arden stands poised with his cigar.  


ARDEN  
I will rather miss this house....  
but then, everything has its uses,  
and when its time is done, one must  
simply move on.  


Arden tosses the lit cigar into the oil, and flames begin to blaze. On the mass exodus, we,  


CUT TO:  


INT. ARDEN'S SUBBASEMENT - NIGHT  
  
West pulls on his chains as smoke begins to fill the room, the house burning down like a cinder block. No matter how hard he tries to reach any of his devices, he can't make it. On West struggling as the room fills with smoke and flames, we,  


FADE OUT:  


END ACT THREE  
  



	4. Act Four

ACT FOUR  


FADE IN:  
  
INT. ARDEN'S SUBBASEMENT - NIGHT  
  
The room is quickly filling with smoke. Jim tugs at one of the bricks attached to his right leg. It pries free, and he flips the switch on his shoe. The blade in the point pops out, West picks the lock on his other shoe. With both legs free, he pulls them straight up and uses the blade to pick the lock on his right hand. Once free, he grabs the lock pick in his lapel and frees his left hand. He coughs from all the smoke, and sweats from the flames; there are only minutes to get out alive. Stumbling toward the spiral staircase, Jim can't see. We FOLLOW him up the staircase, and, into,  
  
INT. CELLAR - CONTINUOUS  
  
Jim dives through the first window leading outside, and we FOLLOW HIM,  
  
EXT. ARDEN'S HOUSE - CONTINUOUS  
  
The house is consumed in flames. Jim whistles for his horse, climbs on him and gallops away. On his exit, we,  


CUT TO:  


INT. PARLOR CAR - NIGHT  
  
Arte paces through the car. Jim enters.  


GORDON  
Thank god...are you all right?  
  
WEST  
Relax, Arte, I'm fine.  
(beat)  
I found Constance Warner, but  
I lost her.  
  
GORDON  
You lost her? Really James, you're  
slipping, my boy.....  
  
WEST  
Apparently. I did find out the who'  
in this puzzle...  
(off a look)  
Keller Arden. Former cattle rancher  
turned would-be-despot.  
  
GORDON  
Just what the world needs....  
  
WEST  
Yeah, and worse, I don't know where  
they are now, and we're running out  
of time.  
(beat)  
And speaking of time, why are you  
still up? Artemus....were you  
worried about me?  
  
GORDON  
Of course not. I just couldn't sleep  
is all....  
  
WEST  
Uh-huh.  
  
GORDON  
I've been thinking...  
(off a look)  
What if Dr. Warner made it known that  
he didn't want to wait any longer to  
trade his research for his daughter?  
  
WEST  
But Arte, we can't let--  
(nickel drops)  
Ah....they're not going to get  
the Dr. Warner they're expecting...  
  
GORDON  
(smiling)  
Exactly.  


A SCREAM from Arte's sleeper interrupts them. They both take off at a run.  


MADELINE (O.C.)  
Daddy! Daddy.....help me!!  


We FOLLOW WEST and GORDON through the car and into,  
  
INT. GORDON'S SLEEP CAR - CONTINUOUS  
  
Arte rushes into the room, with Jim right behind. Gordon sits on the bed, picks up the screaming girl, and holds her close.  


GORDON  
Shhhh......it's okay, honey, you're  
just dreaming.  
  
MADELINE  
Daddy.....  
  
GORDON  
I'm here, sweetheart. Daddy's  
here.  


ANGLE WEST; Arte's heart is lost to this little girl. RESUME.  
  
Madeline wakes up and sobs so hard she can barely breathe. She wraps her arms tightly around Arte's neck. He holds her close.  


GORDON (CONT)  
It was just a nightmare, darling.  
Shhh....  


Jim lingers a moment, longer, and on his exit, we,  


CUT TO:  


INT. PARLOR CAR - DAY  
  
Arte sits in a chair at the table, Jim enters. He walks over to his friend. Gordon looks like hell; no sleep, just worry. It's not lost on West. Jim pours himself a cup of coffee.  


WEST  
Couldn't sleep?  
  
GORDON  
No.  
  
WEST  
You all right?  
  
GORDON  
Yeah.  
  
WEST  
Madeline still asleep?  
  
GORDON  
Yeah.  
  
WEST  
Heard from Richmond this morning?  
  
GORDON  
No.  


Jim can feel Arte's stomach flip-flopping. He pats his friend on the shoulder.  


WEST  
You worry too much, Arte.  
  
GORDON  
I'm not worried. Who said anything  
about being worried?  
  
WEST  
Arte, whenever you answer me in  
monosyllables, I know you're  
preoccupied.  
(off a look)  
Did you advise Richmond about our  
plan?  
  
GORDON  
Yeah.  
  
WEST  
Arte....  
  
GORDON  
I'm sorry, Jim. Richmond's on his  
way with Warner and.....  
  
WEST  
And?  
  
GORDON  
(mutters)  
A nanny.  
  
WEST  
A what?  
  
GORDON  
A Nanny. They're sending a nanny.  


Jim can't keep the huge smile from lighting up his lips.  


GORDON (CONT)  
(annoyed)  
Oh, wipe that smile off your face.  
I have to educate the child....  
  
WEST  
One day, and you've completely fallen  
for the girl.  
  
GORDON  
(melancholy)  
Just like her mother.  


ANGLE WEST; he hadn't meant to stir up sad memories.  


WEST  
Fatherhood suits you, Artemus.  
  
GORDON  
Yes, I suppose it does. Who  
would have guessed....  


Madeline, rubbing her eyes from sleep, enters. She looks upset.  


MADELINE  
Daddy?  


Arte goes to her and picks her up.  


GORDON  
What is it, sweetheart?  
  
MADELINE  
I miss mommy.  


Arte kisses her and pulls her close. A KNOCK on the door interrupts the scene. Jim opens the door to REVEAL Richmond, DR. CLIFFORD WARNER, 50's, tall, glasses, mustache and scar on his cheek and MISS MORELOVE, late 20's, gorgeous. They enter.  


RICHMOND  
Dr. Warner, Miss Morelove, may  
I present James West, Artemus  
Gordon, and Mr. Gordon's daughter,  
Madeline.  


Jim shakes hands with Warner and kisses Miss Morelove's hand. Arte, still carrying Madeline, walks over, shake Warner's hand and smiles at Morelove.  


GORDON  
Miss Morelove, thank you so much  
for your help with Madeline.  


Madeline grabs Arte tightly around the neck.  


MADELINE  
Daddy, I want to stay with you.  
Please don't leave me them.  
  
GORDON  
I'm not leaving, sweetheart. Miss  
Morelove is just going to work with  
you for a few hours while Daddy  
takes care of business, that's all.  


ANGLE MORELOVE; she's enchanted at how sweet he is with Madeline.  


MADELINE  
Do you promise?  
  
GORDON  
Yes.  
(beat)  
You go with Miss Morelove now,  
okay, sweetheart?  


Arte hands the child to Miss Morelove, who takes her by the hand and the two of them exit into the next car. Warner finally speaks; he has a thick GERMAN ACCENT.  


WARNER  
Mr. West, Colonel Richmond tells me  
you saw my daughter...  
  
WEST  
Yes, she's unharmed, sir.  
  
WARNER  
Thank god.  
(to Richmond)  
I don't like this; I don't like it  
at all. I should go with my research  
and get my daughter. If something  
should go wrong.....  
  
WEST  
Dr. Warner, Artemus will have no  
trouble convincing Arden and his  
boys that he's you. I'll be tailing  
him, and together, we'll get your  
daughter out safely, without losing  
you research.  
  
WARNER  
I don't care about my research,  
Mr. West, I just want my daughter.  
(to Gordon)  
You're a father, you understand, ya?  
  
GORDON  
Dr. Warner, you have my word, your  
daughter will be safe.  


On Warner unconvinced, we,  


CUT TO:  


EXT. MOUNTAIN TRAIL - DAY  
  
Arte, disguised as Dr. Warner, rides his horse up a small and windy trail. A bad feeling overtakes Arte, and he shivers. He looks around, as though expecting something. But there is nothing, he rides on.  
  
CLOSE ON WEST a discreet distance away. He continues to follow Arte up the trail.  
  
RESUME  
  
Arte turns round the next bend, and comes face to face with an ambush. Arden and his men stand in the trail, pointing guns at Gordon. Arden steps forward.

  
ARDEN  
Dr. Warner, I presume. I'm Keller  
Arden.  
  
GORDON/WARNER  
(German dialect)  
What are you doing here? We're  
supposed to meet several miles  
up the trail.  
  
ARDEN  
Forgive me, doctor, but I felt  
the need for a little change in  
plans.  
  
GORDON/WARNER  
Where is my daughter?  
  
ARDEN  
She's safe.  
  
GORDON/WARNER  
I want to see her. Now.  
  
ARDEN  
In a moment, doctor. First, your  
research notes....  
  
GORDON/WARNER  
My daughter, then my notes.  
  
ARDEN  
You're a tough old bird, aren't  
you? Dismount, please.  


Arte does nothing.  


ARDEN (CONT)  
Dismount, or I will have you  
dismounted.  


Still Arte doesn't move. Arden nods to Dan, who kicks his own horse, and races toward Gordon. He throws himself at Arte, who in maintaining his guise as Warner, falls awkwardly, suffering for it in the landing. Arte cries out, holding his ribs. Dan grabs him and pulls him up to his feet.  


ARDEN (CONT)  
It won't do Dr. Warner, to ignore me.  


Arte stands slightly bent, clutching his ribs in pain.  


GORDON/WARNER  
My daughter....  
  
ARDEN  
You're stubborn, I'll give you that.  


Arden nods and another man brings Constance out from behind a rock. Arte holds his hands out to her and she runs to him. As she grabs him, he almost passes out from the pain, but he pulls her to himself. She realizes he is not her father.  


CONSTANCE  
But you're not--  
  
GORDON/WARNER  
--hurt badly? No liebchen, my  
ribs are just a little bruised, but  
otherwise I am all right.  
(sotto w/o dialect)  
Play along Constance, I'm a  
government agent, your father's  
fine.  


He pulls away from her and smiles.  


GORDON/WARNER  
(to Arden)  
My daughter goes, now, and then  
I give you the research notes.  
  
ARDEN  
I don't think so, Dr. Warner.  
(to Dan)  
Reach into his satchel and get it....  


Dan walks over to the satchel, and Arte discreetly takes Constance's hand in his own. Jim crouches behind a rock, ready to spring. Dan opens the satchel on Arte's horse, and the bag explodes with smoke. Arte pulls Constance with him to cover behind the rocks, and Jim moves in, fists blazing. Gunshots are fired, but with all the smoke, no one hits a thing. Arte move toward the horses, gets Constance on his chestnut, and with difficulty, climbs up after her. He looks back in time to see Jim hop on his own horse, and they head down the trail full speed. ANGLE WEST; he notices Arte looks awkward in the saddle. RESUME. West kicks his horse and he gets close to Arte and Constance.  


WEST  
Arte, what's wrong?  
  
GORDON  
I'm fine, just go....  


The horses continue to race down the trail, and as soon as they are clear, West stops his horse, and Gordon follows suit.  


GORDON (CONT)  
(in pain)  
What are you doing?  
  
WEST  
(to Constance)  
Can you handle a horse?  
  
CONSTANCE  
Yes, Mr. West.  
  
WEST  
Come on Arte, you're on with me.  
  
GORDON  
No, too risky. If something should  
go wrong...  
  
WEST  
Arte, I can see you're hurt. The  
pain's only gonna get worse as we  
ride. By the looks of it, you  
won't be able to hold on much  
longer.  


Jim gets off his horse and carefully helps Gordon down. West helps Arte up onto his horse and climbs on behind him, putting his arms around his partner to secure him in place.  


WEST (CONT)  
(to Constance)  
You're sure you can ride well enough?  
  
CONSTANCE  
Yes.  
  
WEST  
Then let's get going.  


Jim slaps Arte's horse on the behind and kicks his own. Arte moans in pain as the bumpy ride jars his ribs.  


WEST (CONT)  
Hang in there, partner.  
  
GORDON  
I'm okay....it's just....  
  
WEST  
What?  
  
GORDON  
It seemed too easy, didn't it?  
  
WEST  
Arte, we rarely get them that easy,  
so let's not complain about it.  


ANGLE GORDON; he has a feeling of ill ease, and it ain't his ribs talking. He shivers slightly, and West tightens his hold on his partner. On Jim's worried face, we,  


CUT TO:  


INT. PARLOR CAR - DUSK  
  
Richmond paces back and forth. Dr. Warner sits quietly in the desk chair. The door opens, and Constance enters; she runs to her father who hugs and kisses her. Jim enters, supporting Arte, who is wincing in pain. Richmond moves right to them, and helps Jim support his partner.  


RICHMOND  
What the hell happened? I got  
a message from the 5th regiment  
saying you never arrived at the  
rendezvous point.  
  
WEST  
They ambushed Arte about half way  
up the mountain trail. We managed  
to get Constance and get away.  
  
RICHMOND  
Obviously.....Gordon, are you all  
right?  
  
GORDON  
(in pain)  
Yeah, I'll be fine.  


They carefully lie Gordon on the couch. Jim removes Arte's tie, and unbuttons his shirt. He checks Arte's ribs and makes a face.  


WEST (CONT)  
I'll bet those hurt, buddy....  


Arte just nods. Warner and Richmond share an uncomfortable look, and Warner walks to West and Gordon.  


WARNER  
Mr. West, Mr. Gordon....words  
cannot express my gratitude to  
the two of you for bringing my  
daughter home. You can't possibly  
know what it means to me.  
  
RICHMOND  
There's a carriage waiting, Dr.  
Warner....  


West shakes the man's hand.  


WEST  
It was our pleasure to help, Dr.  
Warner.  


Constance kisses West on the cheek.  


CONSTANCE  
Thank you so much...for everything.  


Jim kisses her hand, and then she looks down at Arte, gently laying a hand on his forehead.  


CONSTANCE (CONT)  
And you, stop masquerading as my  
father, you see the kind of trouble  
it gets you into.  
  
GORDON  
Stay well, Miss Warner.  


She kisses Jim once more, then she and Warner exit. Jim looks over at Richmond, who is unusually tense. Jim frowns.  


WEST  
Colonel...is something wrong?  


Richmond looks sharply at West, and now West is sure something's wrong.  


GORDON  
Colonel?  


Richmond walks over to the two men, and sits on the coffee table.  


RICHMOND  
Jim, sit down.  


Something in Richmond's tone scares Jim, who says nothing as he sits. Richmond moves close to Gordon, and in an almost fatherly gesture, lays a hand on Arte's shoulder.  


RICHMOND (CONT)  
Artemus, something happened while  
you were gone....I don't know how  
to tell you this....  


ANGLE GORDON; panic.  


GORDON  
Madeline.... Is she all right?  


ANGLE RICHMOND; he swallows hard.  


RICHMOND  
I'm sorry Artemus, but they've got  
her.  
  
GORDON  
Wh-what do you mean they've got her?  


Richmond lets go of Arte's shoulder, stands and paces.  


RICHMOND  
About an hour before you got back, a  
delivery boy showed up at the door.  
Said he had a package for Artemus.  
I signed for it, and set it on the  
desk. Frankly, I forgot about it.  
After awhile, it exploded, emitting  
a gas. I succumbed to it, along with  
Dr. Warner and Miss Morelove.  
(beat)  
When we came to, Madeline was gone,  
and there was this note on the desk...  


Richmond hands the note to West.  


WEST  
(reads note)  
If you want to get your daughter  
back, you will do exactly as we  
tell you. If you make any attempt  
at a rescue without meeting our  
demands, Madeline will die.  
  
GORDON  
Oh god.  
  
WEST  
(reads)  
We want Warner's research notes  
in exchange for Madeline's life.  
Perhaps Mr. Gordon will take it  
more seriously if his daughter  
is the one on the chopping block.  


Arte pulls himself up, and starts to stand, but the pain overwhelms him. West goes to him and takes a hold of his arm.  


WEST (CONT)  
Arte, sit down, your ribs aren't  
gonna take much right now.  


Arte pushes Jim away.  


GORDON  
I lost her mother, Jim, I won't  
lose her.  


Arte buttons his shirt and winces as he puts on his jacket.  


WEST  
Arte, you're in no condition to try  
a rescue. We don't even know where  
to look.  
  
GORDON  
(angry)  
Unless you're planning on killing me,  
there's nothing you can do to stop me.  
  
WEST  
Artemus--  
  
RICHMOND  
--That's enough, both of you.  
  
GORDON  
Surely you're not suggesting that  
I just sit here and do nothing?  
  
RICHMOND  
Given the circumstances, Artemus,  
yes, that's exactly what I'm ordering  
you to do. Are we clear?  
  
WEST  
Colonel, we can't turn over Warner's  
research.....  


Gordon looks at Jim with betrayal. He grabs Jim by the lapel.  


GORDON  
(anger)  
And what about Madeline?  
  
WEST  
Hey, it's me, remember? I won't  
let anything happen to her, Arte.  
  
GORDON  
I'm sorry, Jim. I......I'm just  
scared.  


ANGLE WEST; he's never heard Arte admit fear, and it shocks him. RESUME. Arte lets go of his partner.  


WEST  
It's okay buddy. Sit down and  
relax a minute.  


Jim carefully sits Gordon on the divan and pulls the Colonel aside.  


RICHMOND  
Jim?  
  
WEST  
(sotto)  
Colonel, there's something about  
all of this that isn't sitting right  
with me.  
  
RICHMOND  
(sotto)  
It does seem a little too convenient.  
  
WEST  
(sotto)  
Can you check a few things out for  
me?  


On West and Richmond, we,  


CUT TO:  


INT. PARLOR CAR - NIGHT  
  
Jim sits on the divan sipping coffee, watching Arte pace.  


WEST  
Why don't you try and get some  
rest, Arte?  
  
GORDON  
I can't.  
  
WEST  
It might do those sore ribs some good.  
  
GORDON  
I can't sleep, Jim. I just can't.  


West watches his partner continue his pacing. The telegraph key springs into life. Gordon walks to it, listening to the morse. He and Jim exchange a look. West sets his coffee down, stands and walks over to his partner.  


WEST  
That's it then, the exchange takes  
place in an hour, up in the mountains.  


Arte picks up Warner's research notes. Jim lays a hand on his arm, preparing to stop him.  


WEST (CONT)  
Arte, we agreed that you and the  
research are staying here, and I'm  
going in. You're too emotionally  
involved.  


Arte looks into his friend's eyes.  


GORDON  
I'm sorry Jim, but I'm afraid I  
can't take that chance.  


Before Jim realizes what hits him, Arte's fist lands in his face, knocking him out. Gordon grabs his ribs in pain, but catches his partner anyway. Arte gently lays Jim on the divan, placing his head on a pillow.  


GORDON (CONT)  
Forgive me, James, but I don't  
have a choice.  


On Arte taking the research and exiting the car, we,  


CUT TO:  


EXT. MOUNTAIN TRAIL - NIGHT  
  
Arte's horse races up a trail, and we,  


CUT TO:  


INT. PARLOR CAR - NIGHT  
  
Jim is just coming to when Richmond enters. He rushes to West and helps him up.  


RICHMOND  
Jim, what happened?  
  
WEST  
Arte knocked me out.  
  
RICHMOND  
You mean he took Warner's research  
and left?  
  
WEST  
We have half an hour to catch him.  
  
RICHMOND  
I might have known Gordon would do  
something like this.....  


Jim begins preparing himself to leave.  


WEST  
Can you blame him, Colonel? They  
have his daughter.  


Richmond holds up a telegram.  


RICHMOND  
Do they?  
(off a look)  
Lily Fortune isn't dead.  


On West, considering all the possibilities, we,  


CUT TO:  


EXT. MOUNTAIN TRAIL - NIGHT  
  
Arte stops his horse and dismounts. He waits. A moment later, Keller Arden and his men appear.  


ARDEN  
Mr. Gordon, how nice of you to  
come. You're looking....younger  
than the last time we met.  
  
GORDON  
Where's Madeline?  
  
ARDEN  
Where are the notes?  


Gordon reaches into his jacket and produces an envelope. Arden reaches for them, but Gordon holds them back.  


GORDON  
My daughter, where is she?  


Arden nods to Dan, who pulls Madeline out of hiding.  


GORDON (CONT)  
Are you all right, darling?  


The girl nods.  


ARDEN  
That's enough, Mr. Gordon, the  
notes, if you please.  


Arte hands the man the research, and starts to walk toward Madeline. Two of the thugs strike him in the midsection, and he goes down clutching his already fractured ribs.  


MADELINE  
Daddy!  
  
ARDEN  
Get her out of here, and kill him.  


West appears from behind some brush.  


WEST  
I don't think so, Arden.  
  
ARDEN  
I should have known, where one of  
you is, the other is never far  
behind.  
  
WEST  
Let the girl go, and hand over the  
notes.  
(to Gordon)  
Arte, can you stand?  


Gordon nods and painfully pulls himself up.  


WEST (CONT)  
Give Mr. Gordon the notes, Arden,  
and let the little girl walk over  
here.  


Warner appears behind Madeline, and holds a gun to her head.  


WARNER  
I don't think so Mr. West.  


ANGLE GORDON; terrified for Madeline's life.  


WARNER (CONT)  
Drop your gun.  


West hesitates.  


GORDON  
Jim! Damnit man, drop it!  


West drops the gun.  


WARNER  
Now go stand next to your  
colleague.  


Jim complies, and puts an arm around Arte, supporting him.  


WEST  
It's all starting to make sense  
now.....Arden's ability to predict  
our next move. The only thing I  
don't understand, is why you would  
want to steal your own research....  
  
GORDON  
Because he embezzled the money  
our government paid him, instead  
of investing it in his research.  
It's all worthless, isn't it?  
  
WARNER  
Very good, Mr. Gordon, you're  
really quite bright.  
  
WEST  
So you decided to kidnap your  
own daughter, and demand your  
research as payment.  
  
WARNER  
Yes, but you and Mr. Gordon ruined  
that particular plan.  
  
ARDEN  
Enough. Let's kill them and go.  


Warner cocks the gun he's holding at Madeline's head.  


GORDON  
Please, don't....don't kill her.  
She's just a child, Warner.  


Warner smiles.  


WARNER  
Trasker.....you know what to do.  


Howard Trasker steps out of the shadows and takes a hold of the girl. ANGLE GORDON; he looks like he's been hit in the stomach, his mind racing with the truth.  


TRASKER  
Yeah, I know what to do.  


Trasker takes the child away. Arte starts toward them, but Jim holds him back.  


GORDON  
No! Don't! Bring her back! God,  
please, no....  


Jim gently squeezes Arte's neck, and they share a look. A moment later, Jim lunges at Warner, and Arte takes off after Trasker. West takes out Warner, and grabs his gun. Arden and his men fire at West, who ducks behind some rocks. A gunfight ensues. Jim takes out a few of them, and barely dodges the flying bullets. He runs for another set of rocks, diving for cover. He takes out Trasker and it's down to a shoot out with Arden and Dan. Jim nails Dan, but is grazed in the head by Arden. It takes him a second to recover, and Arden takes off on horseback. Jim shakes his head and jumps on his own horse. They race down the trail, shooting at each other. Arden turns to shoot at West, and doesn't see the upcoming turn in the trail. His horse stops short, not wanting to fall over the edge, but the forward motion propels Arden over the front of the horse, plunging him to his death against the rocks. Jim turns around and gallops full speed back up the trail. On this, we,  


CUT TO:  


EXT. MOUNTAIN TRAIL - DAYBREAK  
  
The sun is beginning to peak above the horizon. Arte has caught up with Trasker and they are in a stand off. Trasker turns his gun on the child, who is screaming for Arte.  


TRASKER  
Stop Gordon, or I'll kill her.  


Arte drops the gun.  


GORDON  
It's over Trasker, let me have the  
girl.  
  
TRASKER  
No. The child and I are leaving,  
and you're going to let us, or I'll  
kill her.  


ANGLE GORDON; he has no choice.  


GORDON  
Please......let her go. I won't  
follow you. Just give her to me.  


An evil smile spreads on Trasker's face as he cocks the gun to the child's head.  


GORDON (CONT)  
Trasker, don't.....please.......  
I'll do anything, just don't hurt  
her.  


A SHOT rings out, and Arte slams his eyes shut. Trasker falls and Madeline runs to Gordon. Jim puts his gun back in its holster. Arte bends down and hugs Madeline closely to him, tears rolling down his cheeks. ANGLE WEST; giving the girl up is going to hurt Arte very deeply. On this, we,  


CUT TO:  


INT. PARLOR CAR - DAY  
  
Jim stands protectively close to Arte.  


GORDON  
You're sure Lil's all right?  


WEST

Yes, Arte, she's absolutely fine.  
It was all a hoax, for the sake of

an insurance policy in case Warner's

first ploy didn't work.  


GORDON

They counted on the fact that I'd

bond with the child and believe that

she was mine.

WEST

I'm sorry, Arte. I really am.

Arte nods.  


GORDON  
What will happen to Madeline now?  
  
WEST  
Colonel Richmond found her mother in  
Billings. Trasker kidnapped the  
girl about a month ago, convinced  
Madeline that her mother was dead,  
and that you were her father.  
  
GORDON  
She looks so much like Lily....  


West puts his arm around his partner.  


WEST  
You'd be a good father, Arte.  


The door opens and Richmond, Madeline, Morelove and BARBARA FETTLING enter.  


RICHMOND  
Miss Fettling, allow me to introduce  
Artemus Gordon and James West, and of  
course you two already know Miss Morelove.  
  
BARBARA  
Thank you both for bringing my  
daughter back to me.  
  
WEST  
It was our pleasure.  


Gordon bends down on one knee and holds his arms out to Madeline.  


GORDON  
Can I have a hug?  


The little girl smiles and hugs him tightly around the neck. He holds her very close.  


GORDON (CONT)  
I'm going to miss you, Madeline.  


Madeline kisses his cheek and pulls away. Barbara takes her hand and they head toward the door. Madeline turns back to Arte.  


MADELINE  
I'm sorry you're not really my  
daddy.  


Arte's soft brown eyes tear up.  


GORDON  
Me too, darling, me too....  


Barbara and Madeline exit. Jim squeezes Arte's shoulder gently, and nods at Richmond.  


RICHMOND  
Well Jim, we're going to be late.  
  
GORDON  
Where are you going?  
  
WEST  
The local theater.....  
(beat, softly)  
We thought you needed a little  
special care, Arte, and since Miss  
Morelove is a nanny....  
  
GORDON  
Oh, very funny, James.....I  
hardly need a babysitter.  
  
WEST  
(sotto)  
You sure?  


Miss Morelove moves toward Gordon, and we get the feeling that she will take very good care of him. Jim smiles, and he and Richmond exit. Miss Morelove takes Arte by the hand and leads him to the divan, sitting him down. She walks to the table, pours him a glass of champagne and hands it to him.  


GORDON (CONT)  
Thank you, Miss Morelove.  
  
MORELOVE  
I'm sorry about Madeline....  
  
GORDON  
(melancholy)  
Yes.....  


She sits next to him and runs her fingers through his hair.  


MORELOVE  
You were very sweet with her.  
  
GORDON  
Really?  
  
MORELOVE  
Absolutely.  


She moves closer, and her caresses continue through his hair and move to his chest.  


MORELOVE (CONT)  
A man who is so loving with a child  
is very......attractive.  


She leans in and gently kisses his lips. Morelove removes the glass from his hand, and takes his mouth in a deep kiss. On the two of them, we,  


FADE TO BLACK:  


THE END  
  
  


  
  



End file.
